David O'ConnellLife is Sweet
April 7th 2009 03:58
Far from the dark explorations of suburban life to come in Naked and Secrets and Lies, Mike Leigh’s much earlier slice-of-life comedy-drama, 1991’s Life is Sweet, is probably his most endearingly optimistic work. The texture of the film is distinctly his own, with a typically flawless ensemble cast shaping and reshaping his character sketches through the improvisational techniques honed in extensive rehearsals.
Subsequently, there’s a compelling realness to these people as we voyeuristically observe the trials and tribulations of their very ordinary, very English lives. We know them ourselves in the truest sense - afflicted with familiar yearnings and shortcomings, and equally susceptible to the arbitrariness, the despondencies of everyday living.
Father Andy (Jim Broadbent) is an amiable industrial chef, not immune to falling for a crazy scheme to fend off the monotony of his reluctant vocation whilst his wife Wendy (Alison Steadman) keeps things in order on the home front. There, attention switches between fending off or keeping apart their quarrelling twins, Nat (Claire Skinner) a tomboy and reluctant plumber, and the erratic, mostly unapproachable Nicola (Jane Horrocks), who abandoned her studies and now stews in apathetic defiance.
Also figuring prominently in their lives are slightly dubious friend Patsy (Stephen Rea) and budding restaurant owner, the slightly weird Aubrey (Timothy Spall), whose latest venture begins with a disastrous opening night. Then there is Nicola's secret middle-class boyfriend (David Thewlis) who sneaks in to fulfill her fantasies, which include - in the film's funniest scene - making love to her whilst licking smeared hazelnut chocolate off her chest!
Steadman, who was married to Leigh for many years, is the steely foundation on which the family can rely, holding their teetering fort together with her constant laughter and infectious good humour. She’s their heart and soul, rarely fazed by either their modest, mostly unattainable dreams or the distractions of their troublesome daughter.
Nicola is on the verge of meltdown, refusing to eat at mealtimes, then gorging on chocolate at night before regurgitating it all back up. She and Nat constantly niggle one another, though Nat’s imperturbable nature only infuriates Nicola more, her ranting both humourous and sadly reflective of her internal conflict. Only her sister, listening in the next room, is even aware of Nicola's bulimia. Wearing a mask to conceal some traumatic event - only hinted at - she resorts to vitriolic sarcasm as a means of defending herself against the hated, conspiring forces of the world.
As with all Leigh films, his strongest dramatic moments emerge from beneath the black humour with the adroitness and thrust of a documentarian. The dialogue feels neither contrived nor calculated, the naturalistic performances exploring a genuine pathos. Even if the mild eccentricities of Aubrey seem overdone, making him a little more remote, it’s the family unit that grounds the film. You can’t help associating with them and the wonderful work of Steadman and Horrocks is first-rate. Their final scenes together, openly addressing Nicola’s static existence, are painful but poignant dramatic highlights.
Mike Leigh once again reveals his passion for presenting ordinary lives in an extraordinary light, and though a comparatively minor work in the wake of the masterpieces that followed, Life is Sweet has never seemed truer.
A very funny scene with the two sisters:
Subsequently, there’s a compelling realness to these people as we voyeuristically observe the trials and tribulations of their very ordinary, very English lives. We know them ourselves in the truest sense - afflicted with familiar yearnings and shortcomings, and equally susceptible to the arbitrariness, the despondencies of everyday living.
Father Andy (Jim Broadbent) is an amiable industrial chef, not immune to falling for a crazy scheme to fend off the monotony of his reluctant vocation whilst his wife Wendy (Alison Steadman) keeps things in order on the home front. There, attention switches between fending off or keeping apart their quarrelling twins, Nat (Claire Skinner) a tomboy and reluctant plumber, and the erratic, mostly unapproachable Nicola (Jane Horrocks), who abandoned her studies and now stews in apathetic defiance.
Also figuring prominently in their lives are slightly dubious friend Patsy (Stephen Rea) and budding restaurant owner, the slightly weird Aubrey (Timothy Spall), whose latest venture begins with a disastrous opening night. Then there is Nicola's secret middle-class boyfriend (David Thewlis) who sneaks in to fulfill her fantasies, which include - in the film's funniest scene - making love to her whilst licking smeared hazelnut chocolate off her chest!
The amazing Jane Horrocks as the troubled Nicola
Steadman, who was married to Leigh for many years, is the steely foundation on which the family can rely, holding their teetering fort together with her constant laughter and infectious good humour. She’s their heart and soul, rarely fazed by either their modest, mostly unattainable dreams or the distractions of their troublesome daughter.
Nicola is on the verge of meltdown, refusing to eat at mealtimes, then gorging on chocolate at night before regurgitating it all back up. She and Nat constantly niggle one another, though Nat’s imperturbable nature only infuriates Nicola more, her ranting both humourous and sadly reflective of her internal conflict. Only her sister, listening in the next room, is even aware of Nicola's bulimia. Wearing a mask to conceal some traumatic event - only hinted at - she resorts to vitriolic sarcasm as a means of defending herself against the hated, conspiring forces of the world.
As with all Leigh films, his strongest dramatic moments emerge from beneath the black humour with the adroitness and thrust of a documentarian. The dialogue feels neither contrived nor calculated, the naturalistic performances exploring a genuine pathos. Even if the mild eccentricities of Aubrey seem overdone, making him a little more remote, it’s the family unit that grounds the film. You can’t help associating with them and the wonderful work of Steadman and Horrocks is first-rate. Their final scenes together, openly addressing Nicola’s static existence, are painful but poignant dramatic highlights.
Mike Leigh once again reveals his passion for presenting ordinary lives in an extraordinary light, and though a comparatively minor work in the wake of the masterpieces that followed, Life is Sweet has never seemed truer.
Alison Steadman as Wendy
Andy (Jim Broadbent) with Patsy (Stephen Rea)
A very funny scene with the two sisters:
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Comment by Norm
Consumption Malfunction
Equal and Opposite
Arses and Elbows
Footy Power
Comment by Norm
Consumption Malfunction
Equal and Opposite
Arses and Elbows
Footy Power
Comment by Matt Shea
20/20 Filmsight
Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Comment by David O'Connell
Screen Fanatic
Why Cibby, bow your head in shame young man.............